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唐艺窈
Yiyao Tang
错隙
Faulting
展览时间：2024年1月27日至3月2日
周二至周六 | 10:00–18:00
开幕时间：2024年1月27日，星期六，下午4至7时
Duration: January 27–March 2, 2024
Tuesday–Saturday | 10:00–18:00
Opening: Saturday, January 27, 4–7 PM
上海市黄浦区云南南路261号6楼
6F, 261 S. Yunnan Rd., Huangpu Dist., Shanghai 关于展览
About the Exhibition
Gallery Vacancy荣幸地宣布于2024年1月27日至3月2日展出唐艺窈在上海的首次个展“错隙”。唐艺窈创作的观念性装置，游走于物质、语言和身体等不同维度，以探究信息在当代社会中所扮演的多重角色及其无处不在的传播方式。展览标题“错隙”源自于地质学的“断层”（faulting）概念，用于描述地壳岩石体由于自然张力所产生的破裂构造。在展览中，它既指向材料中的断裂缝隙，也隐喻了信息本身所包含的政治、社会和道德结构之间的根本悖论。![]()
唐艺窈
错隙，2024
电视机、监控摄像头、油墨打印于椰糠砖土
尺寸可变
Yiyao Tang
Faulting, 2024
TV monitors, surveillance cameras and ink print on coir bricks
Dimensions variable
此次展览中的特定场域作品《错隙》（2024）由从五个国家进口的一千八百九十块椰糠砖组成；它们以六个或九个为一组，有序排列在展厅地面上。在唐艺窈的创作语境中，椰糠砖不仅是促进生态循环的有机媒介，而且隐喻了界定机构、国家和民族的基石。虽然它们集体被置于整齐的阵列中，呼应了维持结构稳定性的符号形式，但椰糠砖与水接触后产生的裂缝则揭露了材料固有的脆弱及多变性，揭示着土地在秩序表面之下所蕴藏或萌发、或颓圮的多样可能性。在“错隙”中，艺术家展开了她对信息及其呈现方式的研究，并延续了她在艺术实践中对新闻报道的重点关注，将报道内容再次印刷在砖块上。在创作过程中，唐艺窈首先收集了联合国五个常任理事国主流报纸的头版新闻，并在其中选取了针对 2023年重大事件的即时报道。艺术家将这些新闻内容重制为两个版本：一个包含原始报纸版面，另一个则被编辑去掉图片，分别印制在椰糠砖的表面上。印有文字和图片的砖块与空白砖块交替呈现，并按照出版日期的时间顺序排列，为图像与文字如何塑造公众对信息的感知，提供了一种细致的观看视角。![]()
错隙，2024（局部）
Faulting, 2024（Detail）
除地面装置之外，唐艺窈还在展厅墙壁上装设了四个监控摄像头，同时将显示屏放置在场地各处，以此监察地面活动。完成从观者在现场的行为互动经验的第一视角到监控影像作为第二视角的转译。艺术家利用监控机器与被监控空间的错位，试图进一步探究立场与真相的可塑性。当观者漫步在装置间，他们会在闯入监控领地的同时发现监控摄像头的存在。这些影像将作为信息的“实体”被收集存档，并被纳入艺术家对特定“真相”与证据的持续调查中，以佐证她对治理系统如何影响认知和历史政治的主要探究。
展览期间，附着在砖块上的小草种子会随着时间的推进开始发芽，最终改变作品最初的面貌。作为韧性与生命力的顽强象征，草籽将破土而出，临渊咫尺的废墟为再次共生的希望提供了可能的良田。
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错隙，2024 （局部）
Faulting, 2024 (Detail)
Gallery Vacancy is pleased to announce Yiyao Tang’s first solo exhibition in Shanghai, Faulting, on view from January 27 to March 2, 2024. Tang’s conceptual-based, immersive installations move between material, linguistic and corporeal registers, questioning the multifaceted nature of information, as well as the disarmingly simple yet pervasive nature of its distribution and consumption in contemporary society. The exhibition title is a geology term that describes a fracture in the Earth’s crust caused by tensional forces from nature. Here, it serves as both an observation of the fissures in material and a metaphor for the fundamental paradox of information subjected to the alchemy of political, social, and moral structures that contained them.
错隙，2024（展览现场）
Faulting, 2024 (Exhibition view)
A site-specific work, Faulting (2024) consists of one thousand eight hundred and ninety coir bricks imported from five countries, arranged in groups of six and nine across the gallery floor. Tang’s choice of material––the coir brick––is both an organic medium that facilitates the cycle of ecological life, and a metaphoric connotation to the ground that upholds institutions, states and nations. While they are collectively presented in schematic grids that echo some form of structural order and stability, the inherent fragility of its material strata, which fissures upon contact with water, serves as a cautionary reminder of the precarious uncertainties that dwell beneath its apparent surface.
The work traces through her earlier investigation into the visibility and presentation of information, with familiar focus on news coverage––a principal element of study from her practice––featured on various brick sets. To create them, Tang begins with an archive of front-page news sourced from mainstream newspaper publishers of five United Nations permanent member countries. Chosen for their prompt reportage of major world events in 2023, Tang produces these news content into two versions, one comprising the original newspaper layout, and the latter edited without images, before printing them onto the surface of selected brick formations. Each version is allocated to a respective area of the gallery and chronologically aligned to the publication date, thereby offering a nuanced inspection of how the choice of imagery and words shapes the public perceptions of information.
错隙，2024（局部）
Faulting, 2024 (Detail)
Alongside the ground presentation, Tang strategically installs four surveillance cameras on the walls and disperses the corresponding TV monitors across the venue as a mode of monitoring ground activities. Serving as a secondary observation in lieu of visitor’s first-hand experience of the work, both underfoot and on the walls, Tang exploits the competence of machine intelligence in its mode of recording and transmitting information as an attempt to further inspect the malleability of truth. Visitors are invited to wander in the installation to discover the apparatus while submitting themselves to surveillance. These footages are collected as the ‘substance’ of information for the artist’s archiving. Conceived as part of the installation, they contribute to Tang’s ongoing investigation to the construction of evidence and specific ‘truths’, ultimately testifying to her principal enquiry into how systems of governance influence the politics of truth and history.Throughout the exhibiting period, grass will begin to sprout from the brick formation in response to the surrounding conditions, eventually encompassing the work’s landscape. As an ultimate symbol of resilience and growth, the plant crowd proposes that despite all unrest and uncertainties, the potential for new possibilities shall emerge from the ruins we grapple with.
关于艺术家
唐艺窈，出生于中国温州，现工作、生活于纽约。2018毕业于普瑞特艺术学院学士学位，并于2022年在哈佛大学的设计研究生院获得硕士学位。唐艺窈的实践融合了介入、投影和装置等多种媒介，试图审视社会和政治体系是如何嵌入图像和物质形式中。形态上，艺术家通过运用构建设备及材料打造出一种全新的装置，并在该过程中探讨当前有关自由、创伤、公正、他者和记忆的观点。作品不光承载着艺术家观念上主体与客体的双重属性，其结构的发展也往往不可预测。她的创作方式不仅是作为档案素材的表面性汇总，更是通过近似于考古的细腻挖掘，重构并阐释出潜在于我们身处的这个时代中的残骸、集体记忆及所经历的创伤。她的个展包括：Mattering，theBlanc Gallery，纽约，2023；Precarious，Kirkland Gallery，剑桥，2022。近期驻留项目包括：斯沃琪和平饭店艺术中心驻地，上海，2023；Bemis当代艺术中心艺术驻地，奥马哈，2024。Yiyao Tang, born in Wenzhou, China, now lives and works in New York. She received her BFA from Pratt Institute in 2018 and her MA from Harvard University, Graduate School of Design in 2022. Tang’s practice coalesces mediums of intervention, projection, and installation to explore how social and political systems are embedded within images and objects. Using personal devices and inventive setups, she constructs and contests ideas on freedom, trauma, justice, otherness and memory. Her setups behave twofold: both object and subject of her ideas, often leading to unpredictable outcomes themselves. More than just an archival account, Tang’s approach approximates archaeology in her ongoing process of uncovering evidence of our own contemporary artefacts, collective memories, and climactic traumas. Her solo exhibitions include: Mattering, theBlanc Gallery, New York, 2023; Precarious, Kirkland Gallery, Cambridge, 2022. She is currently the recipient of the Swatch Art Peace Hotel Artist Residency, Shanghai, 2023; and will be participating in the Bemis Center for Contemporary Arts Residency Program, Omaha, in 2024.V A C A N C Y
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周二–周六
Tuesday to Saturday | 10:00–18:00
200021 上海市黄浦区云南南路261号6楼
6F, No.261 S. Yunnan Rd., Shanghai 200021
+86-(0)21-62411239
info@galleryvacancy.com
www.galleryvacancy.com
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